RSNO Spring/Summer Season: Symphonie fantastique

SYMPHONIE FANTASTIQUE Music Hall, Aberdeen Thu 26 May 2022 7.30pm Usher Hall, Edinburgh Fri 27 May 7.30pm Glasgow Royal Concert Hall Sat 28 May 7.30pm

Supported by

2 Symphonie fantastique

Søndergård Conducts

BEETHOVEN NINE EDN Fri 3 Jun GLA Sat 4 Jun

rsno.org.uk

Beethoven Overture to The Creatures of Prometheus Jay Capperauld Our Gilded Veins World premiere Beethoven Symphony No9 Choral Thomas Søndergård Conductor Katherine Bryan Flute Eleanor Dennis Soprano Stephanie Maitland Mezzo-soprano Benjamin Hulett Tenor Božidar Smiljanić Bass RSNO Chorus The RSNO is supported by the Scottish Government

SYMPHONIE FANTASTIQUE Fantastique by name, fantastic by nature! When Hector Berlioz couldn’t win the girl of his dreams he poured all his unrequited passion into his opium-fuelled extravaganza for a super-sized orchestra. There’s nothing quite like the Symphonie fantastique but equally there’s nothing quite like the passionate, neglected music of his French contemporary Augusta Holmès or Felix Mendelssohn’s beautiful Violin Concerto, played this evening by Noa Wildschut.

HOLMÈS La nuit et l’amour, Interlude from Ludus Pro Patria [6’] MENDELSSOHN Violin Concerto in E Minor Op64 [27’] INTERVAL

BERLIOZ Symphonie fantastique Op14 [55’] Fabien Gabel Conductor Noa Wildschut Violin Royal Scottish National Orchestra MUSIC HALL, ABERDEEN Thu 26 May 2022 7.30pm USHER HALL, EDINBURGH Fri 27 May 7.30pm GLASGOW ROYAL CONCERT HALL

Sat 28 May 7.30pm The Glasgow performance will be recorded for the RSNO Archive.

Supported by the Iain and Pamela Sinclair Legacy.

Supported by

If viewing these notes at the concert, please do so considerately and not during performances.

Please silence all mobile telephones and alerts, and refrain from taking photographs, without flash, until the end of each piece.

which raises the profile of music by women

4 Symphonie fantastique

34340 negative 75/no.32

34340 negative 75/no.32

34340 negative 75/no.32

21

34340 negative 75/no.32

21

34340 negative 75/no.32

39

34340 negative 75/no.32

39

31

34340 negative 75/no.32

1

34340 negative 75/no.32

1

31

SEASON 2022:23 ON SALE NOW rsno.org.uk

The RSNO is supported by the Scottish Government

RSNO: Scotland’s National Orchestra 5

WELCOME administrators have become more flexible and reactive. I’ve commented previously that while it’s always disappointing to change our schedule at short notice, there is also an element of excitement, knowing that we are in for a great surprise with a new programme and artist.

Welcome to this evening’s concert, the penultimate in the RSNO’s Spring/Summer Season.

I am very pleased to welcome back Noa Wildschut to perform Mendelssohn’s Violin Concerto – a perennial favourite – in place of the previously advertised Scottish Premiere of Mark Simpson’s Violin Concerto, which was to have been given by Nicola Benedetti. Noa made her RSNO debut in 2020, performing alongside Principal Guest Conductor Elim Chan, and I remember then being struck by her incredible presence.

I’m sure you will all join me in wishing Nicola a speedy recovery from injury, and we look forward to performing alongside her at the BBC Proms this September.

As an industry, we have become much more nimble in adapting to changing circumstances over the past couple of years, one positive outcome of the uncertainty caused by the pandemic. Across the board, musicians and

This evening’s concert also brings together two terrific French storytellers: Augusta Holmès and Hector Berlioz. Berlioz’s Symphonie fantastique is one of the first pieces I played with my school orchestra. I’m confident that the quality of the playing will be considerably better tonight, and it will undoubtedly bring back great memories of hearing this colourful epic live for the first time. Holmès’ patriotic work and Berlioz’s self-portrait of unrequited love will be brought to life by their compatriot Fabien Gabel, who returns to the RSNO having previously conducted the Orchestra back in 2012.

This weekend’s concerts are Marcus Pope’s last performances after 33 years with the Orchestra. As a fellow trumpet player I have always admired Marcus’ great skill and I will truly miss hearing him in the Orchestra. I wish Marcus the best of luck in everything he pursues in the future.

Alistair Mackie CHIEF EXECUTIVE

6 Symphonie fantastique

73-78

64–72

55–63

46–54

37–45

28–36

19–27

10–18

1–9

ROYAL SCOTTISH NATIONAL ORCHESTRA

RSNO: Scotland’s National Orchestra 7

ARTISTIC TEAM Thomas Søndergård

1

MUSIC DIRECTOR

Elim Chan

2

PRINCIPAL GUEST CONDUCTOR

Neeme Järvi

3

CONDUCTOR LAUREATE

Alexander Lazarev

4

CONDUCTOR EMERITUS

Kellen Gray

5

ASSISTANT CONDUCTOR

Gregory Batsleer

6

CHORUS DIRECTOR, RSNO CHORUS

Patrick Barrett

7 CHORUS DIRECTOR, RSNO JUNIOR CHORUS

FIRST VIOLIN Maya Iwabuchi LEADER Sharon Roffman LEADER Lena Zeliszewska

8 9 10

ASSOCIATE LEADER

VIOLA Tom Dunn PRINCIPAL Felix Tanner ASSOCIATE PRINCIPAL VIOLA

Asher Zaccardelli

ASSISTANT PRINCIPAL

Susan Buchan SUB PRINCIPAL Lisa Rourke SUB PRINCIPAL Nicola McWhirter Claire Dunn Katherine Wren Maria Trittinger Francesca Hunt

31 32 33 34 35 36 37 38 39 40

CELLO Betsy Taylor ASSOCIATE PRINCIPAL 41 Kennedy Leitch ASSISTANT PRINCIPAL 42 Rachael Lee 43 Sarah Digger 44 Robert Anderson 45

Michael Rae ASSISTANT PRINCIPAL Paul Sutherland SUB PRINCIPAL John Clark Sally Davis Aaron Berrera Reyes

52

SECOND VIOLIN Xander van Vliet PRINCIPAL Jacqueline Speirs

FLUTE Katherine Bryan PRINCIPAL Helen Brew ASSOCIATE PRINCIPAL Janet Richardson

53 54 55

ASSOCIATE PRINCIPAL

22 23 24 25 26 27 28 29 30

46 47

ASSOCIATE PRINCIPAL

48 49 50 51

PRINCIPAL PICCOLO

OBOE Adrian Wilson PRINCIPAL Peter Dykes ASSOCIATE PRINCIPAL Henry Clay PRINCIPAL COR ANGLAIS

Duncan Swindells

60

PRINCIPAL BASS CLARINET

DOUBLE BASS Ana Cordova PRINCIPAL Margarida Castro

Marion Wilson ASSOCIATE PRINCIPAL Harriet Wilson SUB PRINCIPAL Nigel Mason Wanda Wojtasinska Paul Medd Anne Bünemann Sophie Lang Robin Wilson Emily Nenniger

59

PRINCIPAL CLARINET

Emily Davis ASSOCIATE LEADER 11 Tamás Fejes ASSISTANT LEADER 12 Patrick Curlett ASSISTANT PRINCIPAL 13 Caroline Parry 14 Ursula Heidecker Allen 15 Lorna Rough 16 Susannah Lowdon 17 Alan Manson 18 Elizabeth Bamping 19 20 21

CLARINET Timothy Orpen

56 57 58

BASSOON David Hubbard PRINCIPAL Luis Eisen ASSOCIATE PRINCIPAL Paolo Dutto

61 62 63

PRINCIPAL CONTRABASSOON

HORN Christopher Gough PRINCIPAL Alison Murray ASSISTANT PRINCIPAL Andrew McLean

64 65 66

ASSOCIATE PRINCIPAL

David McClenaghan Martin Murphy ASSISTANT PRINCIPAL

67 68

TRUMPET Christopher Hart PRINCIPAL Marcus Pope SUB PRINCIPAL Jason Lewis ASSOCIATE PRINCIPAL

69 70 71

TROMBONE Dávur Juul Magnussen PRINCIPAL Lance Green ASSOCIATE PRINCIPAL Alastair Sinclair

73 74

72

PRINCIPAL BASS TROMBONE

TUBA John Whitener PRINCIPAL

75

TIMPANI Paul Philbert PRINCIPAL

76

PERCUSSION Simon Lowdon PRINCIPAL John Poulter ASSOCIATE PRINCIPAL

77 78

8 Symphonie fantastique

Augusta Holmès (1847-1903)

LA NUIT ET L’AMOUR Interlude from Ludus Pro Patria Bandmaster in Versailles and Hyacinthe Klosé from the Paris Conservatoire.

FIRST PERFORMANCE Paris, 4 March 1888 DURATION 6 minutes Born in Paris on 16 December 1847 into a literary family with Irish/Scottish roots, Augusta Holmès was a prolific and highly successful composer, both naturally gifted and utterly driven. Passionate in her love of music, ambitious in her range, with a Wagnerlike vision of creating a ‘total work of art’ that would pass over the barriers of opera, oratorio and symphony (let alone the male-perceived barriers of female composition), she aimed always for total artistic control, not least writing most of the poems for the 150 songs she composed in her lifetime.

If her parents encouraged literature and art, Holmès’ passion for music was stymied by her mother’s passionate dislike: ‘A painter produces a painting, a writer a book, and a musician a headache,’ she said. It was only after her mother died that the 11 year-old Holmès was allowed piano lessons. She quickly excelled, studying composition with the Military

Encouraged by Franz Liszt, mentored by César Franck, and by her 20s holding her own popular musical salon, she was charismatic and strikingly beautiful: ‘We were all in love with her,’ said Saint-Saëns. Yet frustrated at the expectation that women should only write songs, if they wrote at all, Holmès started to create more large-scale works, including 12 symphonic poems, numerous instrumental works and oratorios, and four operas, the last of which, La Montagne noire, was premiered at the Paris Opéra in 1895 – near unprecedented for a woman composer in the 19th century.

Rooted aesthetically in the epics of myth and the Classics, and also strongly in the camp of Wagner, Holmès’ work was frequently inspired by patriotic and humanist themes.

Holmès knew she was composing in a world dominated by men, her music, often heavy with brass and patriotic fervour, being described by critics in typically masculine terms as ‘virile’ and ‘muscular’. And yet she was ineligible for the Prix de Rome as a woman, and, on winning the City of Paris Music Prize with a huge patriotic work, immediately disqualified because of her sex. The ensuing uproar increased her fame and in 1889 she was commissioned to write her Ode triomphale on the centenary of the French Revolution, a vast narrated spectacular involving 1,200 musicians and singers at the Exposition Universelle (for which the Eiffel Tower was built), for which she wrote all the music and words, and designed the set and costumes.

La nuit et l’amour is an orchestral interlude of the previous year, taken from Holmès’ odesymphonie Ludus Pro Patria, premiered on 4 March 1888 at the Société des Concerts du

RSNO: Scotland’s National Orchestra 9

Conservatoire in Paris, and conducted by M J Garcin (the work’s dedicatee). Full of stirring patriotism, it is based on the vast canvas of the same name by the painter Pierre Puvis de Chavannes. An evocation of ancient France with its tableau of youths training with pikes, it was reimagined by Holmès in music ranged from bellicose to romantic. La nuit et l’amour, with its Andante amoroso molto lento marking, evokes the passion of Holmès’ own verse in the wider work, the cellos opening the musical tableau with a wash of tenderness: ‘Love!

Inspiration of Fruitful Ecstasy! Love! Conqueror of Conquerors, Who makes the virgin blush at the touch of your wing … Join together lips and hearts!’ © Sarah Urwin Jones

What was happening in 1888?

13 Jan The National Geographic Society was founded in Washington, DC 26 Jan The Lawn Tennis Association was formed, 11 years after the first Wimbledon championship 11 Apr The Concertgebouw orchestra was inaugurated in Amsterdam 8 May The International Exhibition of Science, Art and Industry opened in Glasgow’s Kelvingrove Park 2 Jul About 200 women and teenaged girls at the Bryant & May match factory in Bow, London went on strike, the result of an article on their working conditions by campaigning journalist Annie Besant 1 Aug Carl Benz was issued with the first worldwide driving licence by the Grand Duchy of Baden

The performances of Augusta Holmès’ La nuit et l’amour are kindly supported by the Ambache Charitable Trust, which raises the profile of music by women.

31 Aug The body of Mary Ann Nichols, a prostitute, was found in Whitechapel, and considered the first victim of Jack the Ripper 4 Sep George Eastman registered the trademark Kodak and received a patent for his roll-film camera 6 Nov Democratic Party incumbent Grover Cleveland lost the electoral college to Republican Benjamin Harrison, who became the 23rd US President 23 Dec During a bout of mental illness, Dutch painter Vincent van Gogh cut off part of his left ear

10 Symphonie fantastique

Felix Mendelssohn (1809-1847)

VIOLIN CONCERTO in E Minor Op64 ‘I should rather like to write a violin concerto for you next winter: one in E Minor, whose opening gives me no peace, is running in my head.’ So wrote Mendelssohn in the summer of 1838 to his friend Ferdinand David, the concertmaster of the Leipzig Gewandhaus Orchestra. Yet, due to a number of factors it was six years until Mendelssohn completed the Concerto, a work that to this day remains his most popular.

FIRST PERFORMANCE Leipzig, 13 March 1845 DURATION 27 minutes Allegro molto appassionato Andante Allegretto non troppo – Allegro molto vivace

The first problem was Mendelssohn’s apparent inability to write something ‘brilliant’ enough for the virtuoso David, and for a time this put paid to any progress. Then, in 1841, came Mendelssohn’s ill-fated move to Berlin, where he had been appointed musical director of the Academy of Arts. Paralysed in a mire of bureaucracy and musical mediocrity, he lacked time and energy to compose. However, an opportunity for relaxation and creativity eventually came along. After a strenuous trip to Britain, Mendelssohn spent the summer of 1844 with his family in the idyllic surroundings of Bad Soden in the Taunus Mountains and it was here where he eventually completed his Violin Concerto, a wondrous fusion of Romantic melodiousness and Classical restraint.

David, who had given Mendelssohn a deal of technical advice during its fitful composition, premiered the Concerto at the Leipzig Gewandhaus on 13 March 1845, and it was soon taken up by the 14-year-old Joseph Joachim, another major virtuoso of the period.

The widespread view was (and remains) that Mendelssohn’s Violin Concerto was the natural successor to that of Beethoven.

RSNO: Scotland’s National Orchestra 11

The Concerto also dispels the myth that Mendelssohn’s later works failed to live up to the huge promise of his youth. This is an inspired, innovative piece that single-handedly rejuvenated the concerto genre. Take the opening: here Mendelssohn departs from the convention of an extensive orchestral introduction, casting the soloist into action immediately with the impassioned and longbreathed melody that had haunted him for so long. Another significant feature of the opening movement is an extensive cadenza for the soloist alone placed centrally, rather than near its end.

The exquisite slow movement follows without a pause and initially has the character of a gentle lullaby, though the central section is a darker affair.

After a transition, the vivacious finale springs into life, its infectious energy a reminder of the youthful Mendelssohn’s A Midsummer Night’s Dream. Why the composer fretted about his inability to write ‘brilliant’ music we shall never know! © Anthony Bateman

What was happening in 1845?

29 Jan Edgar Allen Poe’s The Raven was published in the New York Evening Mirror 11 Mar The New Zealand Wars began when 700 Māoris burnt the British colonial settlement of Kororāreka (present-day Russell on NZ’s North Island) 17 Mar Stephen Perry patented the rubber band in the UK 19 May HMS Erebus and HMS Terror, the vessels for Sir John Franklin’s expedition to find the Northwest Passage, with 134 crew, departed Greenhithe on the Thames 26 Jul Isambard Kingdom Brunel’s iron steamship Great Britain left Liverpool for New York, the first screw-propelled vessel to make the voyage 9 Sep Potato blight broke out in Ireland, signalling the beginning of the Great Famine 12 Oct Elizabeth Fry, the English prison reformer, social reformer, philanthropist and Quaker, died 19 Oct Richard Wagner’s opera Tannhäuser premiered in Dresden 27 Dec Anaesthesia was used for childbirth for the first time, administered

by Dr Crawford Long in Jefferson, Georgia 29 Dec Texas was admitted as the 28th US state

12 Symphonie fantastique

Hector Berlioz (1803-1869)

SYMPHONIE FANTASTIQUE Op14 expression of his mouth alternating between energy and withering contempt, between friendly smiling and scornful laughter!’

Berlioz’s Grand traité d’instrumentation (1844) remains essential reading on the subject of orchestration, yet Mendelssohn found the Frenchman’s instrumentation ‘so dirty that I have to wash my hands after turning over the pages of his scores’. Berlioz’s most distinguished successor in the field of orchestration, Maurice Ravel, drily summed up the situation when he referred to Berlioz as ‘France’s greatest composer’, with the caveat that he was ‘a musician of great genius and little talent’.

FIRST PERFORMANCE Paris, 5 December 1830 DURATION 55 minutes Rêveries – Passions [Dreams – Passions] Un bal [A ball] Scène aux champs [Scene in the Country] Marche au supplice [March to the Scaffold] Songe d’une nuit du sabbat [Dream of a Witches’ Sabbath] Hector Berlioz was a creative one-off, a genius of such blinding vision that most of his contemporaries didn’t know what to make of him. ‘A thing is never beautiful or ugly for Berlioz,’ observed the distinguished critic Ernest Newman. ‘It is either divine or horrible.’

Celebrated pianist and composer Ferdinand Hiller noticed the same contrast in Berlioz’s own facial features: ‘The glance one moment flashing, actually burning, and the next moment dull, lustreless, almost dying – the

So many musical ideas are seething within me! … Now that I have broken free of the bonds of orthodoxy, I see huge vistas opening up before me … There are new things, many new things to be done, I feel it in every fibre of my being, and I shall achieve my aims, believe me, on my life.

So wrote Berlioz in a letter to a friend, Edmund Rocher, shortly before beginning work on his Symphonie fantastique. The main catalyst was Berlioz’s smouldering obsession with a young Irish actress named Harriet Smithson. He had first observed her as Ophelia in a production of Hamlet in 1827, a performance that combined with Shakespeare’s matchless prose to awaken in Berlioz an uncontrollable passion for the poor girl. Unable to pluck up the courage even to speak to her, over the following two years he trailed in her wake, his heightened feelings ticking away like an emotional time bomb waiting to go off.

The other main inspiration behind the Symphonie fantastique was a purely musical one, for in 1828 Berlioz first heard Beethoven’s

RSNO: Scotland’s National Orchestra 13

Eroica and Fifth symphonies, which ‘opened up a whole new world of music’ for the lovesick Frenchman. Gradually he began to work through the possibility of taming and framing his burningly impulsive ideas within the traditional (well, more or less) framework of a symphony.

By the opening months of 1830, Berlioz’s all-engulfing infatuation with Harriet had sent him virtually delirious. One moment his roving imagination would lead him to believe that his feelings were in some way reciprocated (he did eventually meet and marry her, with predictably miserable outcomes for both of them), the other that she held him up for ridicule. If only to save his sanity, he finally unleashed his pent-up emotion in the Symphonie fantastique with such ferocity that you can almost imagine the ink burning through the pages as he went along. The December 1830 premiere proved a triumphant success – unusual for a work of such a revolutionary nature. Indeed, the audience excitedly demanded an encore of the fourth movement March to the Scaffold, and following the performance Berlioz was mobbed by adoring fans.

Cast in five movements, the Symphonie fantastique is fused together by means of an idée fixe, a haunting and unusually expansive melody intended to represent the alluring Harriet Smithson. Berlioz described the work as an ‘Episode in an Artist’s Life’, ranging from the blatantly sensual puffing and panting of the idée fixe’s first extensive appearance (on flute and first violins in the opening movement) to its grotesque transformation on shrill E flat clarinet in the Witches’ Sabbath of the final movement, its macabre gesturing underpinned by the remorseless intoning of the ominous Dies Irae chant.

Berlioz memorably described the first movement in his programme note for the premiere: The transitions from a state of dreamy melancholy, interrupted by several fits of aimless joy, to one of delirious passion with its impulses of rage and jealousy, its returning moments of tenderness, its tears, and its religious solace, form the subject of the first movement.

Elsewhere, the composer’s state of dreamy melancholy is regularly and brutally interrupted by outbursts of uncontrollable rage and jealousy. The second movement finds Berlioz enjoying a carnival ball, and in the third movement he restlessly contemplates a pastoral landscape. But no matter where his imagination takes him, visions of Harriet (represented by that ever-present idée fixe melody) pass ghost-like through the various scenes, constantly disrupting the peace of mind that Berlioz so desperately seeks.

By the fourth movement – the famous March to the Scaffold – he cannot stand it any more and takes a mild dose of opium, which brings even greater terrors in the form of a vision of his own execution for the imagined murder of his beloved. Now on the edge of insanity, Berlioz finds himself in the fifth movement at a Witches’ Sabbath in the midst of a raging crowd of spirits, sorcerers and ghouls, who alongside a horrifically transfigured Harriet give the drug-crazed composer a delirious musical send-off. © Julian Haylock

14 Symphonie fantastique

Join us at Prestonfield House on Saturday 11 June 2022 for some Midsummer magic with the RSNO. The Midsummer Gala Ball offers you and your guests a fabulous evening of music, dining and dancing with Scotland’s National Orchestra.

For information or to reserve tickets please contact Jenny McNeely at jenny.mcneely@rsno.org.uk

S a t u r d a y 11 J u n e 2 0 2 2

RSNO: Scotland’s National Orchestra 15

NOA WILDSCHUT Violin Amsterdam, San Francisco and the Konzerthaus Dortmund, where she has been named ‘Junge Wilde’ for the next three seasons.

Nominated a ‘Rising Star’ of the 2019/20 season by the European Concert Hall Organisation, Noa gave recitals at major European concert halls such as the Philharmonie de Paris, L’Auditori Barcelona and Palais des Beaux Arts Brussels. A passionate chamber musician, she has already appeared at leading festivals such as Festspiele Mecklenburg-Vorpommern (where she was awarded the 2018 Soloist of the Year prize), Rheingau Musik Festival and Musikfestival Heidelberger Frühling.

At the age of seven, Noa Wildschut made her debut in the main hall of Amsterdam’s Concertgebouw at the ‘Night of the Promising’, and today the young Dutch violinist has already firmly gained her place on the international stage. Described by Anne-Sophie Mutter as ‘undoubtedly one of the musical hopes of her generation’, she works with orchestras such as the Pittsburgh Symphony Orchestra, Radio Filharmonisch Orkest Holland, Netherlands Philharmonic Orchestra, Amsterdam Concertgebouw Chamber Orchestra, Dresden Philharmonic, Royal Liverpool Philharmonic and Camerata Salzburg, among others.

Noa’s dynamic 2021/22 season includes engagements with the Royal Stockholm Philharmonic Orchestra under Tabita Berglund, Het Residentie Orkest, Musikalische Akademie Mannheim, RLPO and Royal Philharmonic Orchestra. Recital engagements lead her to the Alte Oper Frankfurt, Concertgebouw

In 2016 Noa Wildschut became an exclusive recording artist for Warner Classics. Her first recording, an all-Mozart album, was released in September 2017.

Noa returns to the RSNO, having made her debut with the Orchestra playing Bruch’s Violin Concerto during the 2019:20 Season.

The RSNO is extremely grateful to Noa, who has stepped in at very short notice to replace Nicola Benedetti.

16 Symphonie fantastique

Play your

Part appeal

Help us return to the stage and bring support and inspiration to those who need it most Your donation will ensure we can continue our vital work in the community and provide a lifetime of musical inspiration

£50

£100

£500

£1000

could help support our return to live performance in 2022

could help us provide more Digital Care Packages to Scottish care homes and hospices

could help us continue to provide vital creative opportunities for young musicians

could help us to bring inspiring live performances to children across Scotland

Donate now at rsno.org.uk/playyourpart

RSNO: Scotland’s National Orchestra 17

FABIEN GABEL Conductor Philharmonique du Luxembourg, and his return to the City of Birmingham Symphony Orchestra. In North America, he continues his established relationships with orchestras such as the Minnesota Orchestra, Houston Symphony and Detroit Symphony Orchestra.

He is also in demand in his native France with the Orchestre de Paris, Orchestre National de France, Orchestre Philharmonique de Radio France, Orchestre National du Capitole de Toulouse and Orchestre Philharmonique de Monte Carlo.

Fabien Gabel has established an international career of the highest calibre, appearing with orchestras such as the London Philharmonic Orchestra, Orchestre de Paris, NDR Elbphilharmonie Orchestra, GürzenichOrchester Köln, Tonkünstler-Orchester, Oslo Philharmonic, Helsinki Philharmonic Orchestra, The Cleveland Orchestra, Minnesota Orchestra, Seoul Philharmonic Orchestra and Melbourne Symphony Orchestra.

Praised for his dynamic style and sensitive approach to the score, he is best known for his eclectic choice of repertoire, ranging from core symphonic works to new music to championing lesser-known composers of the 19th and 20th centuries.

His 2021/22 season begins with the season-opening concerts of the TonkünstlerOrchester in Vienna. Other highlights of the season include his debuts with the NDR Radiophilharmonie, Stavanger Symphony Orchestra, Luzerner Sinfonieorchester, Malmö Symphony Orchestra and Orchestre

Having attracted international attention in 2004 as the winner of the Donatella Flick LSO Conducting Competition, he was Assistant Conductor of the London Symphony Orchestra 2004-6. He was Music Director of the Orchestre Symphonique de Québec 2012-21 and the Orchestre Français des Jeunes 2017-21.

Born in Paris to a family of accomplished musicians, Fabien Gabel began playing the trumpet at the age of six and honed his skills at the Conservatoire National Supérieur de Musique de Paris and at the Hochschule für Musik Karlsruhe. He played with various Parisian orchestras under prominent conductors such as Pierre Boulez, Sir Colin Davis, Riccardo Muti, Seiji Ozawa, Simon Rattle and Bernard Haitink before embarking on his conducting career.

18 Symphonie fantastique

ROYAL SCOTTISH NATIONAL ORCHESTRA

Formed in 1891 as the Scottish Orchestra, the company became the Scottish National Orchestra in 1950, and was awarded Royal Patronage in 1977. The Orchestra’s artistic team is led by Danish conductor Thomas Søndergård, who was appointed RSNO Music Director in October 2018, having previously held the position of Principal Guest Conductor. Hong Kong-born conductor Elim Chan succeeds Søndergård as Principal Guest Conductor.

The RSNO performs across Scotland, including concerts in Glasgow, Edinburgh, Dundee, Aberdeen, Perth and Inverness. The Orchestra appears regularly at the Edinburgh International Festival and the BBC Proms, and has made recent tours to the USA, China and Europe.

The Orchestra is joined for choral performances by the RSNO Chorus, directed by Gregory Batsleer. The RSNO Chorus evolved from a choir formed in 1843 to sing the first full performance of Handel’s Messiah in Scotland. Today, the RSNO Chorus is one of the most distinguished large symphonic choruses in Britain. The Chorus has performed nearly every work in the standard choral repertoire, along with contemporary works by composers including John Adams, Howard Shore and James MacMillan.

The RSNO has a worldwide reputation for the quality of its recordings, receiving a 2020 Gramophone Classical Music Award for Chopin’s Piano Concertos (soloist: Benjamin Grosvenor), conducted by Elim Chan; two Diapason d’Or awards for Symphonic Music (Denève/Roussel 2007; Denève/Debussy 2012) and eight GRAMMY Awards nominations. Over 200 releases are available, including the complete symphonies of Sibelius (Gibson), Prokofiev (Järvi), Glazunov (Serebrier), Nielsen and Martinů (Thomson) and Roussel (Denève) and the major orchestra works of Debussy (Denève). Thomas Søndergård’s debut recording with the RSNO, of Strauss’ Ein Heldenleben, was released in 2019.

The RSNO’s pioneering learning and engagement programme, Music for Life, aims to engage the people of Scotland with music across key stages of life: Early Years, Nurseries and Schools, Teenagers and Students, Families, Accessing Lives, Working Lives and Retired and Later Life.

The team is committed to placing the Orchestra at the centre of Scottish communities via workshops and annual residencies.

RSNO: Scotland’s National Orchestra 19

ON STAGE FIRST VIOLIN Sharon Roffman

CELLO Betsy Taylor

HORN Andrew McLean

Tamás Fejes

Kennedy Leitch Sarah Digger Gunda Baranuaskaite Rachael Lee Iain Ward Niamh Molloy Joseph Donmall

Alison Murray Martin Murphy David McClenaghan Diana Sheach

DOUBLE BASS Roberto Carrillo-Garcia

Marcus Pope Jason Lewis Rebecca Wilson

LEADER

ASSISTANT LEADER

Fanny Robilliard Lorna Rough Angus Bain Elizabeth Bamping Caroline Parry Ursula Heidecker Allen Susannah Lowdon Alan Manson Charlie MacClure Julian Fish Daniel Joseph Freya Hall SECOND VIOLIN Jacqueline Speirs ASSOCIATE PRINCIPAL

Paul Medd Robin Wilson Mátyás Mézes Harriet Wilson Nigel Mason Wanda Wojtasinska Sophie Lang Helena Rose Kirsty MacLeod Eddy Betancourt Danny Miller VIOLA Tom Dunn PRINCIPAL

Asher Zaccardelli Susan Buchan Lisa Rourke Claire Dunn Maria Trittinger Elaine Koene Marsailidh Groat Nicola Boag Edward Keenan

ASSOCIATE PRINCIPAL

GUEST PRINCIPAL

Michael Rae Paul Sutherland Piotr Hetman Aaron Barrera-Reyes Sophie Butler FLUTE Anthony Robb GUEST PRINCIPAL

Helen Brew Janet Richardson

ASSOCIATE PRINCIPAL

TRUMPET Christopher Hart PRINCIPAL

TROMBONE Roger Cutts GUEST PRINCIPAL

Lance Green Alastair Sinclair

PRINCIPAL BASS TROMBONE

TUBA John Whitener PRINCIPAL

PRINCIPAL PICCOLO

Mark Reynolds

OBOE Adrian Wilson

TIMPANI Paul Philbert

Peter Dykes Henry Clay

Tom Hunter

OFF-STAGE OBOE Rachael Clegg

PRINCIPAL

PRINCIPAL

PRINCIPAL COR ANGLAIS

CLARINET Timothy Orpen PRINCIPAL

Massimo Di Trolio Duncan Swindells

PRINCIPAL BASS CLARINET

BASSOON David Hubbard PRINCIPAL

Luis Eisen Hugo Mak Fiona Troon

PRINCIPAL

PERCUSSION Simon Lowdon Tom Hunter Stuart Semple Joanne McDowell Scott Vassie HARP Pippa Tunnell Sharron Griffiths

SCHOOL & NURSERY PROGRAMMES

YOYO & THE LITTLE AUK

Introduce children aged 3-6 to the magic of classical music with Yoyo & The Little Auk – an inspiring new Scottish adventure from the Royal Scottish National Orchestra, supported by Year of Stories 2022.

Yoyo & The Little Auk, narrated by actor James Cosmo (The Chronicles of Narnia, Game of Thrones, Braveheart), is brought to life by a world-class creative team including Scottish BAFTA-winning animator Gavin C Robinson, author Stewart Ennis and composer Euan Stevenson.

To learn more, including how to register, visit: rsno.org.uk/project/yoyo-the-little-auk

Supported by

Created in partnership with

GASPARD’S FOXTROT Join us for Gaspard’s Foxtrot - the RSNO’s 2022 National Schools Concert Programme - featuring a special concert film in eight languages, teaching resources and more!

Brought to life by Jonathan Dove’s wonderful composition, Gaspard the Fox’s latest adventure – which takes him through the sights, smells and sounds of London – is the perfect introduction to classical music for school children from Primary 1 up to S2 (age 5-16).

Teachers and primary schools across Scotland can register for free here: rsno.org.uk/project/gaspard Created in partnership with

RSNO: Scotland’s National Orchestra 21

MARCUS POPE Trumpet player Marcus Pope performs in his final season subscription concerts this week, after 33 years of loyal and distinguished service.

Marcus is from Essex, and started playing trumpet and cornet while at school, leading to further study at the Royal Military School of Music at Kneller Hall in Middlesex and the Royal Northern College of Music in Manchester.

Before joining the RSNO, Marcus held Principal Cornet positions and performed as a soloist with the Parachute Regiment Band, Foden’s Motor Works Band and CWS Glasgow, appearing on BBC TV and radio on a number of occasions.

Marcus joined the SNO (as it was known then) in 1989 and has performed with the Orchestra around the world and in hundreds of critically acclaimed recordings.

Alongside his orchestral work, Marcus is passionate about swing music, forming and managing a big band made up from members of the RSNO and some of the finest jazz musicians in Scotland.

Marcus has made an incredible contribution to the RSNO’s work in community and education settings over the past three decades, and his teaching has inspired generations of brass players. Former Principal Trumpet John Gracie said that Marcus is ‘the finest 2nd Trumpet on the planet’!

Marcus is supported by the Nigel and Margot Russell Chair.

22 Symphonie fantastique

RSNO: Scotland’s National Orchestra 23

SUPPORTING THE RSNO I am honoured and extremely proud to be Music Director of the RSNO. It is through the continued generosity of you, our friends, donors and supporters, that we can continue to achieve and realise the most ambitious goals of the Orchestra.

One of the wonders of the RSNO is how it brings high-quality music not only to concert halls, but to the wider community. From hospital settings to care homes, from our Astar app for families with newborns to our National Schools Concert Programme, our music touches so many lives in Scotland and beyond.

Your support is the cornerstone of all that we do, as it allows us to continually build and develop.

Thank you for being part of this wonderful Orchestra’s journey, as we adapt and grow towards a bright future.

Thomas Søndergård MUSIC DIRECTOR, RSNO

RSNO CONDUCTORS’ CIRCLE The RSNO Conductors’ Circle is an inspirational group of individual supporters at the heart of the RSNO’s Individual Giving programme.

Our members’ annual philanthropic gifts enable us to realise the Orchestra’s most ambitious goals. Conductors’ Circle members support inspirational concert performances for our audiences alongside transformational education programmes in communities across Scotland, via our ground-breaking initiative Music for Life.

The relationship between the RSNO and Conductors’ Circle members involves exceptional levels of access to all aspects of Orchestra life. We design bespoke private events tailored to individual interests and passions, providing insight into the artistic process and bringing our supporters further into the RSNO family. Members of the Conductors’ Circle benefit from an intimate and long-lasting connection with the RSNO Artistic Team and particularly with RSNO Music Director Thomas Søndergård, Principal Guest Conductor Elim Chan and the many

renowned guest Conductors we are privileged to welcome to the RSNO each year.

The RSNO is very grateful for the continued support of its Conductors’ Circle: Ardgowan Charitable Trust Geoff and Mary Ball Sir Ewan and Lady Brown Stina Bruce Jones Ian and Evelyn Crombie Carol Grigor and the Trustees of Dunard Fund Gavin and Kate Gemmell Kenneth and Julia Greig Ms Chris Grace Hartness Kat Heathcote and Iain Macneil Bruce and Caroline Minto David and Alix Stevenson Eric and Karen Young We would also like to thank those generous donors who wish to remain anonymous.

For more information on Individual Giving and becoming part of the Conductors’ Circle please contact Jenny McNeely at jenny.mcneely@rsno.org.uk

24 Symphonie fantastique

PATRON PROGRAMME CHAIR PATRON From musical activities in schools with the musicians of the future to working in community venues across Scotland, as a Chair Patron you are enabling RSNO musicians to explore the many facets of their art and the positive impact it has on people’s lives. Supporting an individual musician puts you at the heart of the RSNO family. You’re connected directly to the musicians on stage and get to enjoy privileged behind-the-scenes access. RSNO musicians truly appreciate our Chair Patrons and enjoy developing personal relationships with our supporters.

Assistant Conductor Kellen Gray The Solti Foundation Chair

First Violin Maya Iwabuchi LEADER Sharon Roffman LEADER

Cello Betsy Taylor

Bassoon David Hubbard PRINCIPAL

ASSOCIATE PRINCIPAL The Maxwell Armstrong Chair

The James and Morag Anderson Chair

Kennedy Leitch

Horn Christopher Gough PRINCIPAL

Dunard Fund Chair

ASSISTANT PRINCIPAL The David and Anne Smith Chair

Tamás Fejes Assistant LEADER

Arthur Boutiller

Alison Murray

Rachael Lee

David McClenaghan

The Bill and Rosalind Gregson Chair

Patrick Curlett ASSISTANT PRINCIPAL The RSNO Circle Chair

Jane Reid

The James Wood Bequest Fund Chair

Alan Manson

The Ardgowan Charitable Trust Chair The Christine and Arthur Hamilton Chair

Double Bass Ana Cordova PRINCIPAL

The Kate and Gavin Gemmell Chair

The Springbank Distillers Chair

ASSISTANT PRINCIPAL Mr & Mrs Pierre and Alison Girard The J & A Mitchell Chair

Trumpet Christopher Hart PRINCIPAL Ms Chris Grace Hartness

Marcus Pope SUB PRINCIPAL

The Hugh and Linda Bruce-Watt Chair

John Clark

Elizabeth Bamping

The WL and Vera Heywood Chair

Flute Katherine Bryan PRINCIPAL

Second Violin Xander van Vliet PRINCIPAL

The David and Anne Smith Chair

PRINCIPAL The Mitchell’s Glengyle Chair

Helen Brew ASSISTANT PRINCIPAL

Lance Green

The Hilda Munro Chair

Sophie Lang

The Ian and Evelyn Crombie Chair

Viola Lisa Rourke SUB PRINCIPAL The Meta Ramsay Chair

Francesca Hunt

The Rolf and Celia Thornqvist Chair

The Gregor Forbes Chair

The Gordon Fraser Charitable Trust Chair

Oboe Adrian Wilson PRINCIPAL The Hedley Wright Chair

Peter Dykes

ASSOCIATE PRINCIPAL Witherby Publishing Group Charitable Trust Chair

Cor Anglais Henry Clay PRINCIPAL

In memory of a dear friend, Fiona H

The Nigel and Margot Russell Chair

Trombone Dávur Juul Magnussen

ASSOCIATE PRINCIPAL The William Cadenhead Chair

Timpani Paul Philbert

Ms Chris Grace Hartness

Percussion John Poulter

ASSOCIATE PRINCIPAL The Dot and Syd Taft Chair

Director of Concerts and Engagement Bill Chandler The James and Iris Miller Chair

We would like to acknowledge the generous contribution of Mr Hedley Wright in supporting the RSNO Chair Patron Programme.

RSNO: Scotland’s National Orchestra 25

LEARNING AND ENGAGEMENT PATRON Our Learning and Engagement activity is structured around our Music for Life programme. From apps for babies to concerts and workshops for school children, and lunchtime concerts for older adults, the range of projects is vast. As a Patron, you will have access to our projects to bring you closer to the communities we serve across Scotland.

Learning and Engagement Patrons Neil and Nicola Gordon Professor Gillian Mead, FRSE Mr Maurice Taylor CBE RSNO Principal Oboe, Adrian Wilson Witherby Publishing Group Charitable Trust

NEW WORKS PATRON The RSNO is dedicated to bringing new works and outstanding new talent to audiences across Scotland. Our New Works Patrons contribute a significant legacy to orchestral music that extends beyond the RSNO, providing new music for orchestras and audiences around the world – for generations to come.

New Works Patron Susie Thomson We are also grateful to those who give but wish to remain anonymous.

If you would like more information or would like to discuss how you can become part of the RSNO Family of Supporters, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk

We would like to thank all those who have donated to our new Play Your Part Appeal.

The generosity of our supporters at this time is deeply appreciated.

26 Symphonie fantastique

Musical Memories Leave a gift to the RSNO and ensure future generations can create their own Musical Memories of the Royal Scottish National Orchestra.

We all have special Musical Memories. It could be learning to play an instrument when you were a child, or a special piece of music that just left you breathless the first time you heard the Orchestra play it. Maybe it was seeing a soloist you had always wanted to hear, or just a great concert shared with friends. Memories such as these make music such an important part of our lives.

Leaving a gift to the RSNO in your will is the single most important way you can help us to make music and to create memories. Your legacy will support the work of the Orchestra for years to come, ensuring that we can continue to bring great music to a new generation of children, young people and adults right across Scotland.

It is easy to leave a gift. After you have made provisions for family and friends, please think of the Orchestra.

Your gift is important to us and to everyone in Scotland who enjoys music. Contact your solicitor to draft a will or add a codicil to your current will.

If your estate is subject to inheritance tax, a gift to a charity, such as the RSNO, is tax-free and will reduce the amount of tax payable to the Government. Please ask your solicitor for details.

For more information please visit rsno.org.uk/memories If you would like to discuss this further, please contact Torran McEwan, Individual Giving and Partnerships Administrator, in the strictest confidence, at torran.mcewan@rsno.or.uk To the many among you who have pledged to leave a gift already – thank you.

RSNO: Scotland’s National Orchestra 27

CHARITABLE TRUSTS AND FOUNDATIONS Charitable trusts and foundations have a distinguished history of supporting the RSNO, both on and off stage. From one-off donations for specific projects to multi-year funding for our flagship outreach initiatives, including the National Schools Concert Programme and Young Creatives, every grant in support of our work is truly appreciated. We are grateful to the following trusts and foundations for their generosity: Aberdeen Endowments Trust ABO Sirens Fund Alexander Moncur Trust Alma & Leslie Wolfson Charitable Trust Ambache Charitable Trust Arnold Clark Community Fund Balgay Children’s Society Bòrd na Gàidhlig Boris Karloff Charitable Foundation Castansa Trust Creative Scotland Cruden Foundation David and June Gordon Memorial Trust D’Oyly Carte Charitable Trust Dunclay Charitable Trust Educational Institute of Scotland Ettrick Charitable Trust Fenton Arts Trust Fidelio Charitable Trust Forteviot Charitable Trust Gaelic Language Promotion Trust Gannochy Trust Garrick Charitable Trust Glasgow Educational and Marshall Trust Gordon & Ena Baxter Foundation Gordon Fraser Charitable Trust Harbinson Charitable Trust Hugh Fraser Foundation Idlewild Trust Inchrye Trust James Wood Bequest Fund Jean & Roger Miller’s Charitable Trust Jennie S Gordon Memorial Foundation Jimmie Cairncross Charitable Trust John Ellerman Foundation John Mather Charitable Trust John Scott Trust Fund JTH Charitable Trust Leach Family Charitable Trust Leche Trust Leng Charitable Trust Maoin nan Ealan Gàidhlig Marchus Trust McGlashan Charitable Trust MEB Charitable Trust Meikle Foundation Mickel Fund Miss Jean R Stirrat’s Charitable Trust

Mrs M A Lascelles Charitable Trust Nancie Massey Charitable Trust Noël Coward Foundation Northwood Charitable Trust P F Charitable Trust Pump House Trust Privy Purse Charitable Trust PRS Foundation Radcliffe Trust Robertson Ness Trust Robertson Trust Ronald Miller Foundation R J Larg Family Trust Russell Trust RVW Trust Samuel Gardner Memorial Trust Scott-Davidson Charitable Trust Solti Foundation Souter Charitable Trust Stevenston Charitable Trust Swinton Paterson Trust Tay Charitable Trust Thistle Trust Thomson Charitable Trust Thriplow Charitable Trust Tillyloss Trust Trades House of Glasgow Vaughan Williams Charitable Trust Verden Sykes Trust WA Cargill Fund Walter Craig Charitable Trust Walter Scott Giving Group Walton Foundation Wavendon Foundation William Grant Foundation – Bellshill Local Giving Committee William Syson Foundation Witherby Publishing Group Charitable Trust WM Sword Charitable Trust Zich Trust We are also grateful to a number of trusts that wish to stay anonymous.

If you would like more information about our work and how you can make a difference, please contact Ajda Milne, Head of Trusts and Projects, at ajda.milne@rsno.org.uk

28 Symphonie fantastique

RSNO CIRCLE The Circle is a vital part of the RSNO family. Our community of music-lovers inspire and support us.

Supporting us by joining the Circle will help us to bring music to so many people, from our Learning and Engagement programmes to our brand-new digital performances. As part of our community and family, we will keep in touch with our exclusive magazine Inner Circle, our Circle member webpage and invitations to special events throughout the year.

To find out more about joining the Circle please visit rsno.org.uk/circle or get in touch with Torran McEwan, Individual Giving and Partnerships Administrator, at torran.mcewan@rsno.or.uk To all our existing Circle members, thank you. Thank you for your unwavering support that allows us to continue sharing the joy of music.

Virtuoso

Ms Catherine Y Alexander Mrs A M Bennett Dame Susan and Mr John Bruce Mrs Stina Bruce-Jones Stephen and Morny Carter Francesca and Eoghan Contini Mackie Sir Sandy and Lady Crombie Gavin and Kate Gemmell Dr M I and Mrs C R Gordon Scott and Frieda Grier Judith and David Halkerston Iain MacNeil and Kat Heathcote Miss A McGrory Miss M Michie Mr James Miller CBE Meta Ramsay Mr George Ritchie Mr P Rollinson Mr and Mrs W Semple Mr Ian Taft Claire and Mark Urquhart Raymond and Brenda Williamson Mr Hedley G Wright

Symphony

Mr Anderson Mr Alan and Mrs Carolyn Bonnyman Mr John Brownlie Miss L Buist Mr and Mrs J K Burleigh Mr I Gow Mr J D Home Mrs J Kennedy Mrs A Lamont Mr I C MacNicol Professor J and Mrs S Mavor Mrs McQueen Mrs A McQueen Morag Millar Mr Miller Mrs A Morrison Graham and Elizabeth Morton Mr and Mrs David Robinson Mr D Rogerson Mrs Ann M Stephen Mr Alistair M and Mrs Mandy Struthers Mr and Mrs M Whelan

Concerto

Dr K Chapman and Ms S Adam Mr A Alstead Mr N Barton Miss D Blackie Mr L Borwick Neil and Karin Bowman Dr C M Bronte-Stewart Dr F L Brown Mr and Mrs Burnside Ms H Calvert Mr A Campbell Sir Graeme and Lady Catto Mr R Cavanagh Myk Cichla Dr J Coleiro Ms R Cormack Mr and Mrs B H Cross Christine and Jo Danbolt Mr P Davidson Mr J Diamond Mr S Dunn Mr C Ffoulkes Mrs E Gibb Mr and Mrs M Gilbert Professor J R and Mrs C M Gray Mrs S Hawthorn Richard and Linda Holden Mr N Jack Mr and Mrs S G Kay Mr and Mrs W Kean Mrs M King Norman and Christine Lessels Mr D MacPherson Mr R G Madden Mr and Mrs Marwick Mr S Marwick Mr and Mrs G McAllister Ms M McDougall Mr Rod McLoughlin Mrs B Morinaud Mr A Morrison Dr and Mrs D Mowle Dr C C and Mr K R Parish Mr and Mrs D Pirie Ms A and Miss I Reeve Miss L E Robertson Mr D Rogerson

Ross family Dr and Mrs G K Simpson Mr and Mrs A Stewart Mrs M Stirling Mr G Stronach Dr G R Sutherland Mr I Szymanski Mr and Dr Tom Thomson Mr J B and Mrs M B Watson Mr and Mrs D Weetman Mrs Wigglesworth Mr and Mrs Zuckert

Sonata

Ms S Ace Mr K Allen Mrs P Anderson Ms D Baines Mr O Balfour Mr N Barton Dr A D Beattie Mrs H Benzie Mr R Billingham Dr and Mrs Blake Lord and Lady Borthwick Rev P Boylan John Bradshaw and Shiona Mackie Mr and Mrs Bryan Lady J Bute Miss S M Carlyon Mr J Claxon Lady Coulsfield Adam and Lesley Cumming Ms K Cunningham Mr F Dalziel and Mrs S Walsh Dr J K and Mrs E E Davidson Mr and Mrs K B Dietz Mrs C Donald Jane Donald and Lee Knifton Ms P Dow Mrs P du Feu Mr John Duffy Mr and Mrs M Dunbar Mr R M Duncan Brigadier and Mrs C C Dunphie Mrs E Egan Mr R Ellis Miss L Emslie

RSNO: Scotland’s National Orchestra 29

Mr R B Erskine Dr E Evans Mr D Fraser Mr D and Mrs A Fraser Mr D Frew Ms J Gardner Dr P and Dr K Gaskell Mr W G Geddes Mrs M Gibson Mr D Gibson Mrs M Gillan Mr R M Godfrey Dr J A Graham and Mrs H M Graham Professor and Mrs A R Grieve Mr and Mrs G Y Haig Lord and Lady Hamilton Dr P J Harper Dr N Harrison Mr and Mrs R J Hart Mr D Hartman Ms V Harvey P Hayes Dr and Mrs P Heywood Bobby and Rhona Hogg Mr R Horne Mr and Mrs F Howell Mr A Hunter Mrs A S Hunter Professor R N Ibbett Ms J Incecik Mr A Kilpatrick Professor and Mrs E W Laing Mr J P Lawson Mr and Mrs J Lawson G E Lewis Mr R M Love Dr D A Lunt Mrs Lesley P Lyon Mr and Mrs R MacCormick Mr D MacDonald Mr and Mrs MacGillivray Lady Lucinda L Mackay Dr A K and Mrs J C Martin Mr and Mrs J Martin Mr and Mrs D H Marwick Ms S McArthur Mr G McCormack Mrs L McCormick

Mrs M McDonald Mr M McGarvie Mrs C McGowan-Smyth Dr Colin McHardy Dr A H McKee Mr Patrick McKeever Mr G McKeown Ms H L McLaren Mrs E McLean Professor Mead Mr and Mrs B Mellon Mr G Millar Mrs P Molyneaux Mr R Morley Mr B and Mrs C Nelson Mr and Mrs K O’Hare Professor Stephen Osborne and Frank Osborne Mr and Mrs K Osborne Dr G Osbourne Mr R Parry Misses J and M Penman Mr I Percival Dr M Porteous Mr J W Pottinger Miss J A Raiker Mr W Ramage Mr M Rattray Ms F Reith Mrs D A Riley Dr and Mrs D Robb Mrs E Robertson Mr I Robertson Mr H and Mrs J Robson Ms A Robson Mrs E K Ross F Scott Mrs S Scott Mrs J Shanks Mr J A Shipley Dr M J and Mrs J A Shirreffs Dr Colin and Mrs Kathleen Sinclair Mr M J Smith Mrs E Smith Mr M A Snider Dr and Mrs B Stack Mrs Lorna Statham Mrs T Stevenson

Rev N and Mr R Stewart Mrs R F Stewart Mr and Mrs Struthers Mr and Mrs B Tait Dr and Mrs T Thomson Mr C Turnbull Dr S Tweedie Dr Morag Ward Mr W Watters Dr and Mrs T Weakley Mrs V Wells Mr G West Miss M Whitelaw Dr and Mrs D T Williams Mr D Woolgar Mr R Young

Thank you to all our members of the Circle, including those who wish to remain anonymous. Every one of you makes a real difference.

30 Symphonie fantastique

A BIG THANK YOU TO OUR SUPPORTERS FUNDERS

CORPORATE SUPPORTERS

PRINCIPAL MEDIA PARTNER

CHARITY PARTNER

PRINCIPAL TRANSPORT PARTNER

BROADCAST PARTNER

PARTNERS Glasgow Chamber of Commerce • Institute of Directors • Scots Magazine The Scottish Council for Development & Industry • Smart Graphics

PROJECT PARTNERS Abertay University • Alzheimer Scotland • Balhousie Care Group • Children’s Classic Concerts • Children’s Hospices Across Scotland Council of Nordic Composers • Dundee University • Edinburgh International Film Festival • Gig Buddies Glasgow Association for Mental Health (GAMH) • Glasgow Life • Goethe-Institut • Horsecross Arts • National Youth Orchestras of Scotland Prescribe Culture (University of Edinburgh) • Royal Conservatoire of Scotland • Scottish Book Trust • Starcatchers Tayside Healthcare Arts Trust • Usher Hall • Visible Fictions • Young Scot

CHAIR SPONSORS

If you would like more information about sponsorships, corporate partnerships or fundraising events with the RSNO, please contact Jenny McNeely, Head of Individual Giving and Partnerships, at jenny.mcneely@rsno.org.uk

RSNO: Scotland’s National Orchestra 31

ROYAL SCOTTISH NATIONAL ORCHESTRA PATRON

CHIEF EXECUTIVE

Carol Fleming

Her Majesty The Queen

Alistair Mackie Nicola Shephard

Constance Fraser

HEAD OF MARKETING

COMMUNICATIONS AND MARKETING OFFICER

EXECUTIVE ASSISTANT

RSNO BOARD OF DIRECTORS

CONCERTS

Elected Directors Dame Susan Bruce DBE

PLANNING OFFICER

Alice Gibson

EXTERNAL RELATIONS ADMINISTRATOR

Torran McEwan

INDIVIDUAL GIVING & PARTNERSHIPS ADMINISTRATOR

Ingrid Bols

Jenny McNeely

Michael Cameron

CHAIR

DRIVER AND DEPUTY STAGE MANAGER

HEAD OF INDIVIDUAL GIVING AND PARTNERSHIPS

DEPUTY ORCHESTRA MANAGER

HEAD OF TRUSTS AND PROJECTS

HEAD OF ORCHESTRA MANAGEMENT

DIGITAL CONTENT PRODUCER

LIBRARIAN

GRAPHICS AND NEW MEDIA DESIGNER

ARTISTIC PLANNING MANAGER

TRUSTS AND PROJECTS COORDINATOR

CONCERTS ADMINISTRATOR

INFORMATION SERVICES MANAGER

John Heasley

Emma Hunter

Ajda Milne

Hugh Bruce-Watt Kat Heathcote Linda Holden Neil McLennan Costa Pilavachi David Robinson Gurjit Singh Lalli Jane Wood

Ewen McKay

James Montgomery

Richard Payne

Graham Ramage

Tammo Schuelke

Naomi Stewart

Brodie Smith

Sam Stone

Player Directors Helen Brew David Hubbard Dávur Juul Magnussen Sophie Lang Paul Philbert Lorna Rough

Christine Walker

Nominated Directors Cllr Frank Docherty

PROJECT ASSISTANT

HONORARY TREASURER

Craig Swindells

FINANCE AND CORPORATE SERVICES

STAGE AND PRODUCTION MANAGER CHORUS MANAGER

Angela Moreland

CHIEF OPERATING OFFICER

LEARNING AND ENGAGEMENT

Ted Howie

FACILITIES COORDINATOR

Andrew Stevenson

Lorimer Macandrew

DIRECTOR OF LEARNING AND ENGAGEMENT

VIDEO PRODUCER

Brianna Berman

Sam McErlean

SOUND ENGINEERING INTERN

Samantha Campbell

Irene McPhail

Cllr Lezley Marion Cameron

Hannah Gardner Seavey

Calum Mitchell

Company Secretary Gordon Murray

Rosie Kenneally

GLASGOW CITY COUNCIL

HEAD OF LEARNING AND ENGAGEMENT

THE CITY OF EDINBURGH COUNCIL

LEARNING AND ENGAGEMENT PROJECT COORDINATOR

Rachel Naylor

Baroness Ramsay of Cartvale CHAIR

Ms Ruth Wishart

VIDEO PRODUCTION INTERN

Hedd Morfett-Jones DIGITAL MANAGER

LEARNING AND ENGAGEMENT OFFICER (MATERNITY LEAVE)

RSNO COUNCIL

ACCOUNTS AND PAYROLL ASSISTANT

LEARNING AND ENGAGEMENT OFFICER (MATERNITY COVER)

EXTERNAL RELATIONS

Susan Rennie FINANCE MANAGER

Abby Trainor ADMINISTRATOR

Jade Wilson

FINANCE ASSISTANT

Dr Jane Donald

DIRECTOR OF EXTERNAL RELATIONS

PROGRAMMES EDITOR

Royal Scottish National Orchestra 19 Killermont Street Glasgow G2 3NX T: +44 (0)141 226 3868 W: rsno.org.uk

MARKETING MANAGER

Scottish Company No. 27809 Scottish Charity No. SC010702

Lisa Ballantyne

PARTNERSHIPS OFFICER

Ian Brooke

Jessica Cowley

/royalscottishnationalorchestra

@RSNO

@rsnoofficial

Youtube.com/thersno

The RSNO is one of Scotland’s National Performing Companies, supported by the Scottish Government.

Orchestra list and programme details correct at time of going to print. Contents © Copyright RSNO and named authors.

32 Symphonie fantastique

ne n o B La

e g r e b u